Beby Bartó

Beby Bartó- acrobatic pose, 1930s
Salvador Dalí, Metamorfosis paranoica del rostro de Gala, 1932

Salvador Dalí, Metamorfosis paranoica del rostro de Gala, 1932 © Fundació Gala-Salvador Dalí Crayon et encre / papier
Leonor Fini

Leonor Fini- plate from The book Les Descriptions Merveilleuses, written by Juan Bautista Pineiro and translated in French by Francois Xavier Jaujard.1973
酷子
Portrait de Lise Deharme avec une poupée cassée vers 1930.
Francis Bruguiere -Cynthia ( Cynthia Bruguiere) ca. 1925
Jerry N. Uelsmann – Untitled (boat, clouds and sphere), 1982

Jerry N. Uelsmann – Untitled (boat, clouds and sphere), 1982
Emeric Feher (1904 – 1966)
Jacques Pugin- Ombres et lumière (Shadows and Light) 1983

Jacques Pugin- Ombres et lumière (Shadows and Light) 1983
Peter Stenzel- (hommage à lucien clergue),2009
Baron- Maria Tallchief, in the Firebird New York city ballet,1949

Baron- Maria Tallchief, in the Firebird New York city ballet,1949
Lupe Velez

Lupe Velez 1925 ( c’est ecrit en bas à droite meme serie que celle d’en dessous) quand elle était une Ziegfeld Follies Girls
Plus sur la Biographie et le filmographie de Lupe Velez sur Imb
Herta Moselsio – Martha Graham in Lamentation, 1930
« Lamentation (Ballet choreographed by Martha Graham) Performed to music by Zoltán Kodály, Lamentation premiered on January 8, 1930, at New York’s Maxine Elliott’s Theatre. The solo work was performed by Martha Graham in a concert given by the Dance Repertory Theatre. Graham joined dancer/choreographers Doris Humphrey, Charles Weidman, and [Helen] Tamiris to form the Dance Repertory Theatre. The goal was « to give annually a season of continuous dance programs which will be representative of the art of dance in American and will give native artists an outlet for their creative work. » Dance Magazine (April 1930) noted that the work was « a statuesque composition, which relied for much of its eloquence upon an ingenious and simple costume arrangement. » The November 20, 1932, Record (Philadelphia) reviewed a later performance and noted, « When Miss Graham in her Lamentation depicts the dumb agony of grief she does not droop like a flower or attitudinize like Patience on a monument, she is grief from the first stricken bewildered gropings of her head and torso to the last moment when she averts her covered head with a finality that is pitiful and terrible. »by log





































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